Golden Salamander (1950) User Reviews (21)

Action With A Twist Of Noir

[bkoganbing · 7/10 · 12 October 2009]

If Golden Salamander had been made in the USA some studio back-lot would have sufficed for Tunisia. But this being post World War II in Europe, the British film adventure was made on the actual location with interiors shot in the UK. That's more than could be said for the great Casablanca.

In 1950 when this made the French were busy trying to hang on to their colonial empire and not making much of a go at it. Which brings us to the plot of Golden Salamander and how archaeologist Trevor Howard, in Tunisia to retrieve some salvaged Etruscan works gets himself mixed up in arms smuggling. The guy who has his archaeological treasures is Walter Rilla, the same man who is running the arms smuggling. He's also the local big shot in the coastal town where this is all taking place and owns just about everyone.

Who to trust is Howard's problem, he's not even sure about the lovely Anouk Aimee, a refugee with brother Jacques Serna from the Nazis who has settled down there, but would like to get back to Paris once she can afford to. Because of the lack of trust involved in our hero's part, Golden Salamander is an action adventure that plays a whole lot like film noir.

Herbert Lom is on hand as Rilla's nasty henchmen. No mystery where he's concerned. Until he got to play Inspector Dreyfys in the Pink Panther series, Lom was as reliable a villain as you could find in film. Wilfrid Hyde-White has an interesting part, if this had been done in America, Hoagy Carmichael would have been cast.

The title refers to a particular valuable piece of Etruscan art that is the centerpiece of the collection that Rilla is turning over to Howard. Golden Salamander is a nicely packaged action film with a twist of noir that should satisfy anyone.

Quite good. despite the odd casting.

[planktonrules · 7/10 · 29 December 2013]

While the poor casting in "Golden Salamander" might surprise you, it it STILL worth seeing. It begins with a British man, David (Trevor Howard), driving along some very, very wet roads at night in Tunisia. Eventually, he pulls off the road--and stumbles on some guns that have fallen out of a crate. Soon, some folks return to retrieve the guns--and David runs, as he's pretty sure these are smugglers. However, he does NOT report this to the authorities.

His job in the town is to pack some antiquities for transport to a British museum. During the time he's in the town, he falls for Anna (Anouk Aimée). He also soon realizes that Anna's brother is one of the smugglers. What's he to do? And, just how deep does this conspiracy go?

This is a nice action-romance. As I mentioned above, the casting was odd, as Howard was almost two decades older than his love interest. I also was dumbfounded when there was the HUGE fight near the end...and Anna just stood there watching (even though if the wrong man wins, she will die!). Despite these problems, the film is exciting and has a very good plot...and it's well acted as well.

Crime and romance in a foreign setting

[sol- · 5/10 · 2 July 2006]

Not really poorly made, but more so mediocre, the film's biggest downfall is the lack of any solid plot. The darkness of the shots at the beginning of the film make it hard to see what is going, however one is able to make out that the protagonist has stumbled across some illegal activity. The first third of the film progresses along with the mystery of what they were doing being the only thing driving the plot. Soon after the mystery is revealed, a romance begins, and the rest of the films ties in the protagonist's love interest to how he deals with the crooks. In other words, it is a bit of a mess, and a bit of a predictable one too. Trevor Howard is a good choice for the lead, but the rest of the acting is merely adequate. To the film's virtue, Neame captures the intriguing nature of a foreign environment and atmosphere well, the locations are good, and close-ups are used well to tell certain parts of the tale. It is probably worth a look for fans of Neame and/or Howard.

Good acting and suspenseful

[JaQaL · 16 December 2001]

Trevor Howard plays David Redfern, an archaeologist sent to Tunis to recover artifacts belonging to his English employer. However, he runs across a gun running operation headed up by Serafis (Walter Rilla). The suspense builds and a murder only adds to the danger for Redfern.

Herbert Lom is absolutely wonderful as the evil, dangerous henchman, Rankl, and Anouk Aimee is beautiful as Anna. A good movie is always characterised by the strength of its supporting cast and even those people with minor parts (such as Wilfrid Hyde-White) add depth and colour to the film.

The only negative for me was the fact that Trevor Howard and Anouk Aimee make an extremely unlikely romantic couple. In the scenes with Aimee, Howard, who was a very good actor, seems to play the part like a man with too much starch in his collar.

Leaving that minor detail aside, this is a good, suspenseful movie and well worth watching.

Rating: 7/10

GOLDEN SALAMANDER (Ronald Neame, 1950) **1/2

[Bunuel1976 · 6/10 · 5 March 2006]

Watchable British thriller about gun-running in Post-WWII Tunisia with faint echoes of THE MALTESE FALCON (1941; except that the title artifact bears little relation to the main plot!), TO HAVE AND HAVE NOT (1944) and THE THIRD MAN (1949; not least the presence of two of its cast members), but is perhaps too low-key to be really memorable. Nonetheless, the film has a remarkable cast (Trevor Howard, Anouk Aimee', Herbert Lom, Walter Rilla, Miles Malleson, Jacques Sernas, Wilfrid Hyde-White) and nice, noir-ish atmosphere going for it - and is short enough (87 minutes, though some sources give this as 96!) to keep tedium at bay...which could result from its lack of incident (apart from a couple of confrontation scenes and a climactic fistfight between Howard and Lom) or the incongruous pairing of its two leads.

Tunisia sunset in black white

[BILLYBOY-10 · 6/10 · 6 November 2010]

Trevor Howard is driving to a small Tunisian town in the pouring rain but a rock slide blocks the road and he has to hoof it.

He stumbles across a disabled truck carrying a load of contraband pistols...a couple of dudes approach and he hides....he sees the dudes faces in lightning and so the plot is in motion.

In a café in town he meets the lackadaisical piano player and mopey barmaid Anouk Aimee. Then the dudes from the truck come in the café and the plot thickens. The truck dudes know he was stranded by the rock slide so they ask him if he saw them or the truck. Gosh,no says he. They don't believe him. One of the dudes is Max. After awhile he convinces Max to run away from the other dude and hightail it to Paris, so he can pursue his career as an artist (not kidding). Max says OK, but the other dude finds out & makes Max go for a swim in concrete boots. Then Howard goes to the police chief to narc on the other dude who snuffed Max but turns out the chief is on the take. Matter of fact the whole town is crooked and owned by the villain who lives behind a desk in the fancy spread outside town. He's the kingpin of the gun-running operation.

Well, after some romance between Howard and Aimee, lots of running in the drably scenic Tunisian hills and dales,the good guys and the villains end up all together outside town at Villa d'villain. Its not a bad movie although Anouk Aimee seems in a coma in most scenes and inaudible as well. Howard was 37 when he made this, he's not handsome and he he looks 50 so his Kissie scenes with 19 year old Aimee are really gross and totally unbelievable. Other than that, it has some suspense and has a nice quick pace. I think I'll give it 6 instead of 5.

a relic from the golden age of foreign intrigue

[mjneu59 · 6/10 · 23 November 2010]

Trevor Howard, past his prime, is a plucky archaeologist matching wits against gunrunners in North Africa and falling in love with Anouk Aimee.

This post-war British thriller suffers from an almost terminal stiffness of the upper lip, but it offers an intelligent, no-nonsense script and several notable performances, particularly among the villains (Howard's principal adversary is a young and menacing Herbert Lom.

The story was adapted from a Victor Canning novel and filmed, to excellent advantage, on location in Tunisia.

One saving grace

[eldino33 · 6/10 · 12 October 2009]

In a movie that suffers from to many unanswered questions, too many loose ends, and far too much coincidence, there is one constant which merits mention: the acting of Anouk Aimee. From the moment she enters the as a bar maid she becomes a force in the film, since she is simply a more dominant presence on the screen. The other roles are pretty much clichés. In fact so much so that one expects Howard to really be a secret British agent. And the piano player in the bar drinks as much as he plays. The villains seem much too superficial. The problem stems from a seeming attempt to reproduce World War Two Bogart films, an attempt which is historically out of step with he Cold War of 1950. Does anyone really care about gun running in Tunisia?

To me, Anouk Aimee gives a more convincing performance than does Bergman in CASABLANCA or Bacall in TO HAVE OR HAVE NOT. Bergman seems out of place in Rick's, and Bacall's quips appear contrived. Aimee seems natural throughout, and her lines are appropriate. Her performance is reason enough to see this film.

Three reasons

[bob998 · 7/10 · 22 September 2020]

There are three reasons for watching this movie: first Trevor Howard gives a performance of some conviction--he always seems to believe in what he's doing even when it's somewhat improbable. Then Anouk is ravishing, as she had been in Les Amants de Verone made when she was 16. Finally Wilfrid Hyde-White gives a very assured performance as Agno, the hotel pianist and factotum. Add to this the often stunning locations in North Africa, and Ronald Neame's assured direction, and this is a very pleasant way to spend a couple of hours. This was the last film from the British Noir box that I watched. It's not a noir, just a thriller.

Little known, but worthwhile

[Leofwine_draca · 6/10 · 4 March 2018]

GOLDEN SALAMANDER is an intriguing and moralistic British crime film of 1950 that stars Trevor Howard in a winning performance as the sympathetic lead. He plays a British archaeologist who heads off to Tunisia to retrieve some priceless antiquities discovered in a rich client's cellar. While on the scene, he soon becomes aware of a gun running scheme in the locality and must decide between keeping tight-lipped or revealing what he knows to the authorities. Although this feels like a low budget production at times, it's generally pretty effective. The narrative is lean and clean and the exotic landscapes put to good effect. The story plays out in a way which is both slow and realistic. Herbert Lom is an effective villain, as always, and Anouk leads a certain exotic beauty to the role of the love interest. The climax of the film is an extended chase sequence which works nicely, topping off a generally well-rounded production.

Golden Drek

[writers_reign · 3/10 · 16 April 2018]

This is the kind of mediocrity that makes Old Mother Riley look cutting edge. There's barely one believable frame in the whole movie. For reasons clearly meant to 1) mislead and 2) generate interest the opening sequence finds Trevor Howard driving along what appears to be a coast road in a storm. He turns out to be an archaeologist. So much for suspense. He puts up at a sinister inn where a shabbily dressed Wilfrid Hyde White clearly having been frightened by Dooly Wilson in Casablanca is playing a jaunty version of Clopin Clopant on a beat-up upright ignored by several deadbeats led by Herbert Lom with drinks being dispensed by a young Anouk Aimee as if at Finishing School in Lausanne. It doesn't get any better. Unbelievably Howard really IS what it says on the tin and NOT a British agent, undercover cop, intrepid investigative reporter or anything the slightest bit interesting and the fact that he stumbles onto a gun-running syndicate is more embarrassing than sinister. If you like thrillers sans thrills this is for you and if you mistake Miles Malleson for Claude Rains or even Louis Renault then you got trouble, my friend, right here in Waterfront City.

A pleasant surprise

[worldofgabby · 9/10 · 22 March 2011]

When I saw the cast for this, I figured the movie would either be very good or awful. Luckily, it was the former. Good acting, great cinematography, editing and a convincing character path make this movie a real classic. Of course there are the "exotic" Arabs, but their depiction is not as offensive as in most films of its era. The somewhat dazed performance by Anouk Aimee leads one to believe that she either had a lot of trouble with the English language, or overplayed her depressive qualities. The boar hunt sequence brings to mind the conclusion of the book "The Alexandria Quartet." Aside from these minor quibbles, I recommend The Golden Salamander to anyone with an interest in character development, intrigue, and film noir that isn't about people unjustly accused of criminal action, innocent people led into same, and heists gone wrong.

Golden Salamander

[CinemaSerf · 6/10 · 27 December 2022]

This is a slightly confused smuggling mystery with an oddly cast Trevor Howard as "David", a British archaeologist sent to Tunisia to supervise the removal of some artefacts. He arrives at the inn run by "Anna" (Anouk Aimée) and a slightly sinister pianist Wilfred Hyde-White ("Anjo"). Next thing, he is involved in a gun-smuggling racket with local hoodlum Herbert Lom ("Rankl") and his lobster fisherman pal "Max" (Jacques Sernas) whilst slowly falling in love with the much younger "Anna". It's a good looking film, but the story has more holes than a Dutch cheese with just way too many co-incidences. Howard is fine, but Lom features all too rarely to build any sense of suspense. Sernas is positively smouldering so why Anouk would prefer the older man is slightly bewildering; and the casting of Miles Malleson - ordinarily the archetypical British vicar/train enthusiast as "Douvet" - the local policeman, is just a bit too baffling to make much sense of the really thinly spread story.

Eternal Silences make this a slow-moving bore.

[mark.waltz · 4/10 · 5 February 2014]

What is an interesting plot conceptually ends up dropping down to mediocrity thanks to moments of slowness that seem to make the film drag on to eternity. Obviously, the "Golden Salamander" is a take-off on the legend of the "Maltese Falcon" with the mysterious statue of the tiny lizard (enlarged to iguana size) providing the film's theme of "The best way to conquer evil is to confront it". That's the case for the British Trevor Howard, in Northern Africa for "private business" and his sudden involvement in a ring of thieves lead by the nasty Herbert Lom. Long before the shout of "Clouseau!" would drive him to insanity, Lom was already playing film heavy's in British thrillers like this, and for a side-kick, he gets none other than a very thin Wilfred Hyde White, resembling Percy Kilbride, who is the first person to encounter Howard when he arrives at the inn run by Anouck Aimee, simply billed by her first name.

There's a lot of insinuation that certain sleazy characters aren't as bad as they seem or that those who seem nice or on the side of the law really aren't. While this provides some potentiality for clever plot twists, some of those moments aren't clarified for plot line purposes and the results are somewhat confusing. An extensive chase sequence towards the end of the film seems to go on forever and leads into more plot developments which extends the film's running time when it seemed as if it was already running out of plot. Ronald Neame's direction certainly isn't to blame and neither are the performances who do their best to enliven the action. Compared to American romantic heroes of the time, Howard is certainly a unique leading man and manages to stay charming even if he doesn't fall into the same league as the crop of stars doing similar adventure yarns in Hollywood films. What ultimately decreases overall interest in the film is the excessive use of moments of action with little to no sound which really proves that sometimes, silence is deafening.

Sunset on the Mediterranean

[dougdoepke · 24 August 2008]

With her little-girl voice and arched eyebrows, a 17-year old Anouk (Aimee) is a real attention-getter. Having her fall for the much older and plainer Trevor Howard, however, is something of a stretch. Nonetheless, it's a fascinating movie to look at even if the basic plot is unexceptional. Archaeologist Howard travels to north Africa to retrieve shipwrecked treasures that include a golden salamander. There he stumbles across a network of gun- smugglers and hooks up with the exotic Anna (Anouk) in a seedy, atmospheric café. Just who is and who isn't a part of the network generates some suspense.

But the movie's strength is in the acting and the photography. Howard is superb, as usual, while Anouk manages to be both emotionally vulnerable and surprisingly accomplished in her first big part. Special mention should go to Walter Rilla for his super slick version of a gangster kingpin. He looks and acts the sinister role to a proverbial T.

However, what I liked best is what the pro's call "mise-en-scene", ie. the placing of a scene. Someone in production had the great idea of filming on location, along the north African coast line. This results in a number of visually stunning compositions made all the more so by the subtle tonalities that only black& white photography can produce. Catch the romantic scene on the beach with the setting sun in deep-focus background. Color is simply too literal to capture this kind of poetic effect.

The dialogue is spiced up nicely with several exotic pearls of wisdom, but what about that escape scene by the cliff which seems pretty implausible-- how did Hyde-Whyte know a sheep flock would pass at exactly the right time. Or the climax, which seems a little too tame for my liking. Nonetheless, it's one of those movies that's stayed with me over the years for reasons I can't quite pin down. I guess it's something about the authentic crowds along the Arab bazaar or the sheer poetry of that coast line stretching into the distance and beyond. Yes indeed, there's a lot to be said for the old black & white.

Looking the other way.

[brogmiller · 7/10 · 19 June 2020]

Ronald Neame is one of a handful of cinematographers who have tried their hand at directing, with decidedly mixed and uneven results. Neame does a pretty good job however with this rather routine thriller based upon the novel by the prolific Victor Canning. Trevor Howard plays David Redfern, an archaeologist who stumbles across a gun-running operation and is undecided as to whether or not to expose it. He develops a soft spot for the sister of one of the gang members and when the brother is bumped off he realises that he cannot remain impartial. At the start of the film he approaches a small hotel and one hears from within the sound of a piano playing 'Clopin Clopante'. Imagine our surprise when the actor at the keyboard turns out to be Wilfred Hyde-White! Even more bizarre casting is to follow. Peter Copley plays an Arab and if you can believe Miles Malleson as a member of the Gendarmerie...! The casting of the villians is spot on however with Walter Rilla as the reptilian Serafis and the always mesmerising Herbert Lom as his henchman. Howard of course is wonderfully watchable. His persona is that of a gentleman with 'an edge' which always makes his performances interesting and one seldom catches him 'acting'. The object of his affections here is the enchanting Anouk(without the 'Aimee') in a very early role. Most reviewers have remarked upon the disparity in their ages. That may be true but there is a chemistry there and after all, it's only a movie. Mr. Neame's direction is solid and there are some 'noirish' touches from cinematographer Oswald Morris. This film will not exactly have you on the edge of your seat but is guaranteed to wile away an hour and a half.

Passable Thriller

[TheFearmakers · 7/10 · 7 July 2023]

No matter how low budget a British movie is, there's usually great acting being filled with great actors... of the British or neighboring-European kind... here from 1950 with night-passage stranded archaeologist Trevor Howard in a Tunisian town, consisting of a noirish tavern that includes wispy ingenue Anouk Aimée and where usual-lead-villain Herbert Lom only seems in charge of the impending darkness...

Turns out being a more sophisticated, monologue-spouting Walter Rilla while Howard's distracted in a beachy romance with the extremely vulnerable Aimée... while Lom's and handsome partner Jacques Sernas are keeping something chillingly secret: the only real nice person is bartender Wilfrid Hyde-White while Howard, in the midst of a lean, economic thriller without much suspense yet high on atmospheric tension, seems to kind of stand around and... wait for the outcome, which is actually pretty tight and pulpy, and worth re-watching.

Great Movie, No Goof

[oldblackandwhite · 9/10 · 15 March 2017]

The Golden Salamander is a thoroughly engaging, high-powered entertainment from the beginning to the end. Other reviews have made this clear.

One point I should like to clear up. Since yours truly has found it impossible to navigate the trivia section to correct misinformation there, I have taken the oblique path of a review. The "Goofs" section incorrectly states that a flock of seagulls is shown to be making noise around a "body floating on top of the water", then we see that the body is actually discovered weighted at the bottom of the shallow water near the shore. In fact it not a body at the top of the water around which the seagulls were flocking, but merely the coat which had come off the body and floated to the top.

Perhaps someone better at navigating (probably intentionally) difficult sites will see this and wedge a correction though.

Erupting corruption in Tunisia by the sea with a romance

[clanciai · 9/10 · 15 August 2018]

The most curious asset of this film is a very young and irresistible Anouk Aimée ("Anouk") as the innocent girl who is totally unaware of what is going on although her boyfriend is deeply mixed up in it, which makes her worried without knowing for what. As it happens, the archaeologist Trevor Howard enters and makes things happen in this off-side village in Tunisia where corruption flourishes, in which everyone is involved. It is therefore a rather unpleasant film, with Herbert Lom as villainous as ever, and Miles Malleson as inimtable as ever as the local chief of police, who isn't quite as innocent as he should be either. It all amounts to a bloody mess of troubles mainly for Trevord Howard himself, and it might seem objectionable that he falls for la belle Anouk while he knows the truth about her boyfriend, in whose case his meddling didn't quite work oui as he had intended. A key figure is Wilfred Hyde-White, constantly sitting drunk by the piano playing the wonderful "Clopin Clopant" and saying very little but in the end doing what is needed to resolve a hopeless situation just by a very small hint. He was never better, although he always was a crown jewel in every film he was in.

Golden gem from Ronald Neame

[searchanddestroy-1 · 13 December 2023]

When I first heard of Ronald Neame's name, it was for POSEIDON' S ADVENTURE, back in 1972, the same for his pal John Guillermin, in 1975, it was this time concerning TOWERING INFERNO, both disaster seventies films, commercial, and not "author" features. I really discovered the authentic, genuine filmographies of those British movie makers much much later, and it was far more interesting, with not necessarily gross intentions, at least not as much as for the seventies Hollywood stuff. This one GOLDEN SALAMANDER, is pretty good, exciting, with a terrific Herb Lom in a character that suits him like a glove. The plot is unfortunately predictable but the directing, and photography purely stunning.

It Was A Dark Stormy Night...

[cutterccbaxter · 27 July 2023]

I like Trevor Howard but I realized as I was watching The Golden Salamander that I like him most when he plays parts where he doesn't move much like in The Third Man or Father Goose.

He looked goofy running down the sandy hill to the sea with Anouk. And I wasn't convinced of his pugilistic skills while engaging in fisticuffs with the Pink Panther guy.

I think Howard was best when standing still and delivering wry line readings.

My favorite character was Agno played by Wilfrid Hyde-White. He somehow managed to channel both Hoagy Carmichael and Boris Karloff into his character.

The pacing of the movie seemed just a tad sluggish but there were some cool looking shots through out the proceedings both on location in Tunisia and in the studio.